Seattle Art Museum, Author at SAM Stories

Portland Art Museum and Seattle Art Museum Present Major Exhibition of Masterpieces Drawn from the Paul G Allen Family Collection

Seattle Art Museum on Apr 23 2014

Featured above: Le Palais da Mula, 1908, Claude Monet, oil on canvas, 26 1/16 x 36 3/4 in.

The Seattle Art Museum and the Portland Art Museum today announced a major exhibition exploring the evolution of European and American landscape painting. Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection will feature some 40 paintings from five centuries of masterpieces drawn from the collection of Microsoft co-founder and philanthropist Paul G. Allen.

“This is a rare opportunity for the public to see these landscape masterpieces from Paul Allen’s extraordinary collection,” said Kimerly Rorschach, the Illsley Ball Nordstrom Director and CEO of the Seattle Art Museum. “It is especially meaningful here in Mr. Allen’s hometown of Seattle where his generous support of the arts has made a significant impact.”

The exhibition—which is being co-organized by the Seattle Art Museum, the Portland Art Museum and the Paul G. Allen Family Collection – will premiere at the Portland Art Museum in October 2015 and will conclude in Seattle in early 2017 at the Seattle Art Museum. The exhibition will also travel to The Phillips Collection in Washington, D.C, the Minneapolis Institute of Arts and the New Orleans Museum of Art.

“Paul Allen is one of the Northwest’s most significant art collectors and philanthropists,” said Brian Ferriso, The Marilyn H. and Dr. Robert B. Pamplin Jr. Director of the Portland Art Museum. “His willingness to share his landscape masterpieces with our visitors continues his exceptional generosity and is a wonderful opportunity to be inspired by works of art that reflect his personal vision.”

Seeing Nature explores the development of landscape painting from a small window on the world to expressions of artists’ experiences with their surroundings on land and sea. The exhibition begins with Jan Brueghel the Younger’s allegorical series of the five senses. These exquisite, highly detailed paintings provide a platform for visitors to explore the exhibition by considering their own experience with the world through sight, touch, smell, sound, and taste.

The next section of the exhibition demonstrates the power of landscape to locate the viewer in time and place—to record, explore, and understand the natural and man-made world. Artists began to interpret the specifics of a picturesque city, a parcel of land, or dramatic natural phenomena. Venice, one of Paul Allen’s favorite cities, also attracted many artists from outside Italy; his collection features a stunning group of evocative Venetian scenes by Canaletto, Édouard Manet, Claude Monet, and J.M.W. Turner, among others.

Water Lily Pond, 1919, Claude Monet, oil on canvas, Paul G. Allen Family Collection.

In the 19th century, the early Impressionists focused on direct observation of nature. The Allen collection is particularly strong in the works of Monet, who embodied this practice, drawing Paul Cézanne’s famous comment, “Monet is only an eye, but my God, what an eye.” Five great Monet landscapes spanning thirty years are featured, from views of the French countryside to one of his late immersive representations of water lilies, Le Bassin aux Nymphéas of 1919. Cézanne himself and fellow Post-Impressionists such as Vincent van Gogh used a more frankly subjective approach to create works such as La Montagne Sainte-Victoire (1888-90) and Orchard with Peach Trees in Blossom (1888). The exhibition also features a rare landscape masterpiece by the Austrian painter Gustav Klimt, Birch Forest of 1903.

“The Allen collection invites viewers to think about landscape and our place in the world through the eyes of great artists. One may focus on a familiar setting and help us see the special qualities of our everyday surroundings, while another is captivated by the overwhelming grandeur of an extraordinary site like the Grand Canyon,” says Chiyo Ishikawa, Susan Brotman Deputy Director for Art and Curator of European Painting and Sculpture at the Seattle Art Museum.

Black Iris VI, 1936, Georgia O’Keeffe, oil on canvas, 36 x 24 in, Paul G. Allen Family Collection.

The last part of the exhibition explores the paintings of European and American artists working in the complexity of the 20th century. In highly individualized ways, artists as diverse as Georgia O’Keeffe, Edward Hopper, David Hockney, Gerhard Richter, and Ed Ruscha bring fresh perspectives to traditional landscape subjects.

“The final section of the exhibition exposes the diversity of artists’ use of the landscape genre from psychological dreamscape to the basis of formal theoretical trope,” said Bruce Guenther, Chief Curator and the Robert and Mercedes Eichholz Curator of Modern and Contemporary Art, Portland Art Museum, and the curator of the exhibition.

The exhibition will be accompanied by a full-color, hard-bound publication documenting the featured works with essays by Chiyo Ishikawa and Bruce Guenther, and descriptions of all the works by the curatorial staffs of both museums.

Seeing Nature: Landscape Masterworks from the Paul G. Allen Family Collection is co-organized by Portland Art Museum, Seattle Art Museum, and the Paul G. Allen Family Collection.

About the Seattle Art Museum

The Seattle Art Museum provides a welcoming place for people to connect with art and to consider its relationship to their lives. SAM is one museum in three locations: the Seattle Art Museum in downtown Seattle, the Asian Art Museum in Volunteer Park, and the Olympic Sculpture Park on the downtown waterfront. SAM collects, preserves, and exhibits objects from across time and across cultures, exploring the dynamic connections between past and present. For more than eight decades, the Seattle Art Museum has been one of the Pacific Northwest’s leading visual arts institutions. The collections of the Seattle Art Museum number approximately 25,000 objects and are distinguished in the areas of African art, American art, Ancient Mediterranean and Islamic art, Asian art, decorative arts, European art, modern and contemporary art, Native and Meso-American art, and Oceanic and Aboriginal art. The museum has a membership of more than 35,000 households and serves more than 750,000 visitors annually at its three sites. For more information, call 206.654.3100 or visitsam.org.

About the Portland Art Museum

The seventh oldest museum in the United States, the Portland Art Museum is internationally recognized for its permanent collection and ambitious special exhibitions drawn from the Museum’s holdings and the world’s finest public and private collections. The Museum’s collection of more than 45,000 objects, displayed in 112,000 square feet of galleries, reflects the history of art from ancient times to today. The collection is distinguished for its holdings of arts of the native peoples of North America, English silver, and the graphic arts. An active collecting institution dedicated to preserving great art for the enrichment of future generations, the Museum devotes 90 percent of its galleries to its permanent collection. The Museum’s campus of landmark buildings, a cornerstone of Portland’s cultural district, includes the Jubitz Center for Modern and Contemporary Art, the Gilkey Center for Graphic Arts, the Schnitzer Center for Northwest Art, the Northwest Film Center, and the Confederated Tribes of Grand Ronde Center for Native American Art. With a membership of more than 22,000 households and serving more than 350,000 visitors annually, the Museum is a premier venue for education in the visual arts. For information on exhibitions and programs, call 503.226.2811 or visit portlandartmuseum.org.

About Paul G. Allen

Paul G. Allen is a leading investor, entrepreneur and philanthropist who has given more than $1.5 billion to charitable causes over his lifetime. He founded Vulcan Inc. in 1986 with Jody Allen to oversee his business and philanthropic activities. Today, that Seattle-based company oversees a wide range of Allen’s investments and projects throughout the world. In 2003, he created the Allen Institute for Brain Science to accelerate understanding of the human brain in health and disease and, a decade later, launched the expansion of the Allen Institute for Artificial Intelligence to explore opportunities for development in the field of AI. He is the co-founder of The Paul G. Allen Family Foundation, which has awarded more than $494 million to nonprofits in the Pacific Northwest and beyond. For more information, go to www.pgafamilyfoundation.org and www.vulcan.com.

Le Palais da Mula, 1908, Claude Monet, oil on canvas, 26 1/16 x 36 3/4 in. Water Lily Pond, 1919, Claude Monet, oil on canvas, Paul G. Allen Family Collection. Black Iris VI, 1936, Georgia O’Keeffe, oil on canvas, 36 x 24 in.

Announcing SAM’s New Website!

Seattle Art Museum on Apr 15 2014

I am happy to announce the launch of our new website at seattleartmuseum.org.

A big thank you to our stellar SAM team and Microsoft for the generous grant that made this new site a reality.

We can now beautifully and dynamically showcase SAM’s collections, exhibitions, and programming to a global audience. Our hundreds of thousands of virtual visitors can easily navigate information about visiting our three locations and engage with the museum in many different ways.

There is now a foundation to integrate multimedia, social media, and new technologies. In addition, seattleartmuseum.org is optimized for mobile devices so that the user experience is seamless on all platforms.

I hope you can take the time to explore and let us know what you think.

Best,
Kim
Kimerly Rorschach
Illsley Ball Nordstrom Director and CEO
Seattle Art Museum

Echo: 46 Feet of Quiet Contemplation

Seattle Art Museum on Apr 11 2014

Installation has begun for the newest addition to the Olympic Sculpture Park. Shovels first hit the shoreline on Monday, March 31 to create space for a 46-foot-tall sculpted head titled Echo, by the internationally recognized artist Jaume Plensa. Installation aims to be complete in late spring 2014.

The Olympic Sculpture Park has always been a special place for me. I’ve spent the past three summers in a row volunteering and interning at the Olympic Sculpture Park’s SAM Camp as counselor. Part of being a SAM Camp counselor involves cleaning up art project debris, but counselors and staff also help educate the campers and make art approachable, relatable, and fun for them. On the first day of camp, we usually give the campers a tour of the park and encourage them to sketch various sculptures and scenery. I can only imagine what this summer’s campers will have to say about the Echo installation.

At first the campers might be intimidated by the large scale of the towering resin, steel and marble dust head. After further explanation and observation, I think the campers will begin to see themselves in Echo. The sculpture’s face is inspired by a young girl Plensa knew, who mustn’t have been much older than the children who attended SAM Camp. Echo’s eyes are closed in a peaceful state of meditation; hopefully she won’t be roused by curious campers.

The name “Echo” derives from the nymph in Greek mythology who crossed goddess Hera. Echo offended Hera by engaging her in conversation and distracting her from spying on Zeus’s amours. As punishment Hera deprived Echo of speech, except for the ability to repeat the last words of another. Echo will silently laugh to the playful observations SAM Camp participants this coming summer, and endure many rainy Seattle days until then.

Echo was originally created for Madison Square Park in New York, in 2011. If you are curious about Echo’s appearance, I recommend looking up pictures of the Madison Square Park sight. The sculpture will be visible from the land and the water, facing the Puget Sound towards Mount Olympus.

Also, check out this video from KOMO News capturing the first day of the installation:

Jaume Plensa
Echo, Gifted from Collection of Barney A.Ebsworth
Coming Late Spring 2014
Olympic Sculpture Park

Maddie Thomas, Seattle Art Museum’s Communications Intern

SAM Art: Quick! Before it’s too late!

Seattle Art Museum on Apr 10 2014

A Fuller view of China, Japan and Korea, the museum’s celebration of our Asian art collection closes this weekend. See the Hell of Shrieking Sounds, Deer Scroll, Crows Screen, and other favorites before they disappear from our galleries. Before they go, make sure you see the stunning Hell of Shrieking Sounds scroll, which relates a Buddhist sutra on the different representations of hell. The inscription on the SAM scroll reads, in part:

“…there is a place called the Shrieking Sound Hell. The inmates of this place are those who in the past, while human beings, …[failed] to conduct themselves properly and having no kindness in their hearts, they beat and tortured beasts.”

(Translation by Mr. K. Tomita for the Seattle Art Museum)

Segment of the Hell Scroll: Hell of Shrieking Sounds, ca. 1200, Japanese, Heian period (794 – 1185), handscroll; ink and color on paper, 10 3/8 x 25 3/4 in., Eugene Fuller Memorial Collection, 48.172. On view until Sunday, 13 April, at the Asian Art Museum.

SAM Art: New Installation at Olympic Sculpture Park by Sol LeWitt

Seattle Art Museum on Apr 10 2014

Experience the Olympic Sculpture Park’s PACCAR Pavilion as it transforms into a canvas for Sol LeWitt’s Seven cubes with color ink washes superimposed, now on view through March, 2015.

As a new intern for the Seattle Art Museum’s Communications department, I can’t wait for the next sunny day to escape my office and walk to see the Sol LeWitt installation at the Olympic Sculpture Park. Until I started my internship I wasn’t very familiar with Sol LeWitt, and only knew of his sculptures. LeWitt is more than just a sculptor. He was a proponent of artistic concepts driving the force behind visual work. He famously regarded the principles of conceptual art by writing, “the idea is the machine that makes the work of art.”

Aside from sculpture, Lewitt created wall drawings that existed only as a set of instruction for others to carry out. LeWitt’s drawings come to life without his own presence, as they are realized by others, and are contextualized by the spaces they are produced in. Lewitt provided a scale that nearly anyone can adjustment and create. The Olympic Sculpture Park’s Pavilion walls are slightly narrower than the original scale, creating a surprise perspective for viewers and an image specific to the Pavilion’s space.

LeWitt bridged minimal art of the 1960’s with what would become conceptual art. LeWitt was interested in cube and grid structures throughout his career. Here, the cubes emphasize flatness, causing the cubes to appear as if they are tilting forwards, yet simultaneously remaining rooted to the wall. This calls attention to the relationship between the viewer’s space, the drawing, and the architecture of the Pavilion.

In this installation video, it is fascinating to watch the process of layering colors on top of each other to create depth, producing bold colors and geometric lines that fill the Pavilion walls. I also enjoyed the video’s commentary from Catharina Manchanda, SAM’s Jon and Mary Shirley Curator of Modern and Contemporary Art, as she explains details of the installation and gives insight into the mind of LeWitt.

Don’t miss this installation on view now through March 8, 2015 at the Olympic Sculpture Park’s PACCAR Pavilion.

– Maddie Thomas, Seattle Art Museum’s Communication Intern

Seven cubes with color ink washes superimposed, 1997, Sol LeWitt, American, 1928-2007, India ink washes, 130 x 670 in., Seattle Art Museum, Gift Of The Artist; Installation donated By Preston, Gates, & Ellis, in honor of William H. Gates, 98.4. © Sol LeWitt. Photo: Nathaniel Willson

SAM Art: Flowers by an expert

Seattle Art Museum on Apr 2 2014

Victoria Dubourg was trained as a portrait painter and met her future husband, the celebrated portraitist and still-life painter Henri Fantin-Latour, while both were copying paintings at the Louvre. Like her husband—and many women artists before her—she specialized in flower still lifes. This exquisite study of crisp paperwhites against a plain brown ground shows both formal restraint and compositional precision.

In the new installation, France: Inside and Out, landscapes, domestic interiors, and decorative arts invite us to think about the different worlds of men and women in the nineteenth and early twentieth century. This painting by Dubourg represents the beginning of broader opportunities for women that were to come.

Narcissus, late 19th-early 20th century, Victoria Dubourg Fantin-Latour (French, 1840–1926), oil on canvas, 11 x 12 3/8 in., Gift of the Seattle Garden Club, 59.123. Currently on view in France: Inside and Out, fourth floor, Seattle Art Museum.

SAM Art: Visions of Cathay

Seattle Art Museum on Mar 25 2014

As global trade increased in the seventeenth and eighteenth centuries, Europeans became enthralled with visions of Cathay, as China was popularly known. Chinoiserie, the ornamentation featured on this tapestry, is an enchanting decorative motif depicting imaginary and whimsical interpretations of life in Asia. An eighteenth-century European concept, chinoiseries typically present exotic figures clothed in flowing robes and elaborate headdresses, and situated in fantastical landscape settings. Whether these figures represent people of China, India, the Middle East, or Japan is often difficult to determine; they are a mélange of peoples referring not to geographical and cultural boundaries so much as to a general concept of Asia.

Altar of the Three Buddhas (detail), commissioned in 1717, Judocus de Vos (Flemish, Brussels, 1661-1734), wool, silk, metallic threads, 105 1/2 x 85 1/16 in., Gift of Guendolen Carkeek Plestcheeff Endowment for the Decorative Arts, Anonymous, General Acquisition Fund, Mildred King Dunn, Richard and Betty Hedreen, Decorative Arts Acquisition Fund, Margaret Perthou-Taylor, Bill and Melinda Gates Foundation Art Acquisition Endowment Fund, Ann Bergman and Michael Rorick, Mr. and Mrs. David E. Maryatt, 2002.38.1. Now on view in the European art galleries, fourth floor, Seattle Art Museum.

Congratulations David Snead, 2014 Seattle Tourism Ambassador of the Year!

Seattle Art Museum on Mar 24 2014

September 1, 2010 was my first day as a fresh-faced, green member of the Seattle Art Museum family, and the first day I met David Snead, Lead Admissions Representative and the 2014 recipient of the Seattle Tourism Ambassador of the Year Award!

Anyone who has ever had the pleasure of meeting David knows, and can appreciate, his talented ability to make ANYBODY smile and his love for the city of Seattle. He has an impressive wealth of knowledge about the Pacific Northwest including, and not limited to, history, geography, food, wine, and secrets and hidden gems in the region. For a newbie like me, he was a diamond found. And he continues to shine.

His winning nomination was selected from dozens by a regional judging committee that represented a cross section of the tourism industry. Judges reviewed nominees on criteria ranging from visitor service and high professional standards to job knowledge, professional leadership and influence, representing the industry and serving as examples of achievement and success.

During his five-year tenure at SAM, David has set the standard for customer service, knowledge of permanent and travelling exhibitions, as well as city knowledge, and proactive outreach to hotels and concierge professionals to educate them about SAM and its offerings.

In short, David is AMAZING.

What makes him so great?

Let’s put it this way, if David were a public figure or celebrity he wouldn’t have to kiss any baby’s forehead to win a vote (as a matter of fact, babies would probably jump up and walk to catch a glimpse of him), he’d have crowds cheering outside his private jet (Beyoncé would have a visual album dedicated to David), and people would travel great distances to see him (no stadium needed to know the ground beneath you shook), but he’s much too modest and humble to be THAT guy. Instead, he focuses on the visitor, the tourist, the wanderer, the friend looking to venture, explore, in search of a good time.

In the end, David is just an all-around phenomenal example of a human being who is loved by everyone at the Seattle Art Museum and we applaud him.

Cheers to you, my friend!

– Carlos Garcia, Seattle Art Museum’s Communications Coordinator

SAM Art: Lecture tonight

Seattle Art Museum on Mar 19 2014

Bronze abides forever. That idea changed the course of Frederic Remington’s career, and shaped the work of Alexander Phimister Proctor.

Frederic Remington was in his day and remains now the most famous painter and illustrator of the western cowboy. His early adventures in the far west introduced him to the Mexican vaqueros, admiring their derring-do as they fought to tame wild horses, the bronchos, and had done for generations. The Broncho Buster was displayed for years in the window of Tiffany & Co. in New York, where Gilded Age admirers eagerly ordered casts of Remington’s masterly vaquero.

A westerner by birth, Alexander Phimister Proctor earned an international reputation as one of the most accomplished sculptors of his generation. Animals became a specialty: Heroic horse and rider monuments by Proctor can be found from Portland, OR to New York, NY.

Buckaroo and other works by Alexander Phimister Proctor are currently on view in the American art galleries at SAM. Also on view (as a Super Bowl loan from the Denver Art Museum) is The Broncho Buster by Frederic Remington. Learn about both works in today’s members art history lecture.

Members Art History Lecture Series:
Curator’s Choice with Patricia Junker
Buckaroos in Bronze
March 19, 2014
7–8:30 pm
Plestcheeff Auditorium, Seattle Art Museum

Buckaroo, modeled 1914, cast initially 1915, Alexander Phimister Proctor (American, 1862-1950), bronze, Phimister and Sally Church.
The Broncho Buster, modeled 1895, cast before May 1902, Frederic Remington (American, 1861-1909), bronze, Roman Bronze Works, cast number 12, Denver Art Museum; The Roath Collection, 2013.91.
Currently on view in the American art galleries, third floor, Seattle Art Museum.

SAM Art: Glass is back!

Seattle Art Museum on Mar 7 2014

Glass Art at SAM

The Northwest is known the world over for its association with the studio glass movement. With the Pilchuck Glass School and the studios of such luminaries as Preston Singletary, Ginny Ruffner, and Dale Chihuly, western Washington is a hotbed for glass art. See great examples of work by artists associated with Pilchuck in a new installation at the Seattle Art Museum, opening on March 8.

Cadmium Yellow Venetian #84, 1989, Dale Chihuly (American, born 1941), blown glass, 28 x 19 x 12 in., Eugene Fuller Memorial Collection and gift of the Estate of Mark Tobey, by exchange, 90.28, © Dale Chihuly. On view in the modern and contemporary art galleries, third floor, Seattle Art Museum.

Celebrate Miró with SAM at Community Night Out!

Seattle Art Museum on Mar 4 2014

From live music, to dance lessons, and great art, Community Night Out at Seattle Art Museum has something for children, young adults and whatever classification of other adults there is for a non-young adult like me. I think childish-adult would be fitting, not that it’s a bad thing and I’ll tell you why.

I’m looking forward to nerding out at SAM with the night’s diverse performances and activities. There’s nothing like cutting loose and enjoying the simple things in life. Remember how great it was to be a kid? You didn’t have to know how to move your body to dance and you didn’t have to know great art to know your art was the best, mostly because mom or dad said so.

The cutest thing I’ve seen in a long time, aside from photos of babies, puppies and kittens, is the work a group of children at Early Masters has hanging in the Community Corridor inside SAM. Inspired by the works of Miró, which you can see for yourself in Miró: The Experience of Seeing. They’ve reminded me why being a kid was so great!

As a result, you’ll likely catch me and a couple of friends making a silly painting with Ryan Henry Ward and Xavier Lopez Jr., making a clay sculpture with Sandra Farmer for home décor, or rewriting history with Storme Webber.

The one thing I will be missing out on is the teen-only Art Lab kickoff, which features a tabletop moviemaking workshop and the exclusive screening of all films made. Young adults looking to find a space to vibe with friends, or make new friends, should look no further. To think, I could have been the next Scorsese!

After I stuff my masterpieces of art into my satchel, I’ll shuffle over to catch A Cedar Suede beat, who not only have a mean accordion and violin player, but they’re sound is so diverse and distinct that one moment you’ll hear an afro-Cuban beat you’re moving your feet to and the next second you’re pondering if you’re catching a hint of bluegrass in the same song. #musicnerdproblems

Speaking of happy feet, Flamenco Seattle is sure to show you a thing or two when it comes to tearing up the dance floor. In true flamenco fashion, their emotionally intense guitar playing, foot stamping, and hand clapping will take your breath away. I’ll likely consider bringing along an oxygen tank because they’ll also have flamenco dance lessons throughout the night.

If your jam is something more contemporary, DJ 100proof is sure to have the right mix to get you groovin’ and moving. I’ve seen this cat keep a room cool, calm, collected, but I’ve also seen him turn venues into a madhouse dance party. Why not grab a drink at Taste Bar and see what way your your friends sway?

On the complete opposite of madhouse, I’m looking forward to taking Nathan Vass’ My Favorite Things tour through SAM’s galleries. This was a pleasant surprise on the night’s bill. Not only because I know Nathan to be one of the nicest and most considerate people I have ever met, but because he is a talented photographer who has a passion for the arts and a love for the community he serves while working as a Metro Bus Driver. He’s also a huge film nerd.

If there’s one thing events like Community Night Out have taught me it’s that I can always forget my age and make room for the simple joys of life. Especially when it’s free! After all, it’s the little things in life that matter most, like candy for breakfast and cereal for dinner. 😉

– Carlos Garcia, Seattle Art Museum’s Communications Coordinator

Finding Miró: Paris

Seattle Art Museum on Feb 14 2014

Join special projects intern Gabriela Ayala as she travels in Miró’s footsteps through Paris. Then, experience Miro at the Seattle Art Museum’s current special exhibition Miró: The Experience of Seeing on view through May 26, 2014.

Paris, France

It is fifteen minutes until landing in Paris, and the clouds mean serious business. The fog surrounding the Paris airport is hiding any possible knowledge of when the airplane might touch the ground. Before expected, the plane touches the surface of France and the compact fog is not allowing me to see any of the wonder it is hiding. A forty-five minute drive leads me to the center of Paris where no weather can stop the activity of cars moving and people leisurely drinking coffee, shopping, and gawking at the beauty that is Paris. All the architecture you see is ornate and dazzling. There are buildings of all different shapes, colors, and sizes with decorative balconies made of elegant swirls of iron. I try to make note of how old the structures around me are to get an idea of what Miró was surrounded by when he lived here. Miró arrived in Paris for the first time at age twenty-seven where he met Pablo Picasso and would later live and work in a studio neighboring poet André Masson. Paris was a hot spot for artists and poets and Miró was a part of that scene to an extent. He always tried to keep himself a little separated from the groups that formed because he never wanted to loose his individuality and independence. This last part of my inquiry into Miró is initially going to be different than everything else I have seen. Up to this point, I have visited foundations focused solely on Miró, making it a bit easier to gain visual and written knowledge. Now for Paris, I have done a precursory investigation into where Miró lived, worked, and the streets he may have strolled upon.

Saturday, 8:00am

I strap on my trusty, now worn, leather boots and am off to face the rain and find Miró in Paris. I plan my journey on the map so I can make a nice circle around the city and eventually find myself back at home base, the Opera House. First stop is rue La Boëtie, where Galerie La Licorne used to exist. This gallery is where Miró had his first solo exhibition. I do not have an exact number for this absent location so I stroll down the street, looking for a plaque that could clue me into where this gallery could have been. What I end up finding is a plaque that showed me a different gallery that lived on this same block. This gallery was owned by French art dealer Paul Rosenberg in 1910-1940. He exhibited modern painters like Picasso, Braque, Matisse and Lêger. Miró met Rosenberg through Picasso but I am unsure if he ever showed at this particular gallery. I continue on to the UNESCO building that has two of Miró’s ceramic murals inside. I arrive to a building encircled by a shorter stonewall that is supporting a metal fence. Sadly, I run into a security guard who very urgently asks me to leave and informs me that the UNESCO building cannot be visited today. This means I cannot get a photo of Miró’s mural but I have to accept my defeat and move on to the next checkpoint. Next on the list is 45 rue Blomet.

Square Blomet, a public park where Miró’s studio at 45 rue Blomet once stood. Photographer: Gabriela Ayala

This is the location I am most excited about. 45 rue Blomet marks the spot that was Miró’s first studio in Paris and where he made now famous works and was surrounded by many famous artists and poets. It was a location where many surrealist artists and writers would meet up. rue Blomet curves off of the busier main street, eventually becoming parallel as the numbers on the buildings go up. I am counting to myself 32, 35, 40, 42, and finally I find 45 but it is not what I would have imagined. In place of where Miró’s studio was there is now a small park, Square de l’Oiseau lunaire (Square of the Lunar Bird), inaugurated in 1969. The plaque at this park details the many artists who had a workshop in this location and hosts the sculpture Miró donated in memory of 45 rue Blomet. Even though I was really looking forward to seeing a building in this location where I could get a very real sensation of what this meeting and work place looked like, the fact that there is still a gathering place for people to enjoy shows me its ongoing importance. It is beautifying and honoring a location where many artists felt inspired to come together and create, and that power still lives there. After taking the time to sit on a bench and take in everything I could, I decided to move on to the one location I know still exists.

Galerie Maeght is a gallery where Miró had many group and solo exhibitions. It is also a business that has been passed down and is still owned by the Maeght family. It is not difficult to find and I excitedly enter to try to communicate my purpose for being there. Luckily, the lady there speaks Spanish and so I tell her about my project and what I am researching. She then informs me that they have the original catalogs for one of the exhibitions Miró had here. This has to be one of the greatest finds today. I look through the three catalogs she pulls out for me to decide which treasure I would like to take home with me. I decide on the catalog for a show that was during the last twenty years of his life. These catalogs also have printed lithographs by Miró for your own collection. One of the desires Miró expressed was to make his art accessible to the public and this was evidence to that. Anyone who wanted was able to take some of his art home with them in the catalog. I find this to be a very beautiful detail.

The exterior of Picasso’s home from 1936-1955, where he painted Guernica.

My last stop is to find the location where Pablo Picasso painted Guernica in 1937. Guernica was exhibited in the Spanish Republican Pavilion at the Paris Universal Exposition, as was Miró’s painted response to the turmoil of the times, The Reaper . I find myself again venturing into hidden streets with graffiti-decorated walls and narrow uneven roads. Finally I reach a tall building with a gated entrance and luckily another plaque informs me that I have arrived at my desired destination. I am not allowed to enter but knowing this is where an incredibly important piece of work was created gives me satisfaction enough. Guernica and The Reaper were created as political protests against the dictator Francisco Franco and Paris was the perfect location to exhibit them. It was a center where freedom was an idea taken very seriously and innovation was happening every day. People were trying to find themselves and the future and the options were endless. I believe this is what attracted Miró to Paris on a conscious or subconscious level; he knew this was a place where he could be free to create and experiment in a manner that continued on to his last days.

A sunny day in Paris. Photographer: Gabriela Ayala

Top image: The Eiffel Tower. Photographer: Gabriela Ayala. www.gabrielaayala.com

“What Use Is Art, Anyhow?”

Seattle Art Museum on Feb 11 2014

This is the story of a young scholar named Sherman Emery Lee (1918-2008).

Lee was first drawn to art and art history during college, in depression-era Washington, DC, before pursuing graduate studies at the Western Reserve University (today, Case Western Reserve University) in Cleveland, OH. While completing his studies, he served as the assistant curator of Oriental Art at the Cleveland Museum of Art. After receiving his PhD in 1941, he was hired by the Detroit Institute of Arts as Curator of Fine Eastern Art. Like many men of his generation, he joined the armed forces reserves in the 1940s, and he served in the United States Navy during World War II (1944-46)

Why are we now so interested in young Dr. Lee? Because, after he completed his Navy service, Sherman Lee became a Monuments Man. And, right now, we are more aware of Monuments Men than we ever were before.

In advance of Japan’s capitulation in August, 1945, Lee’s mentor from the Cleveland Museum of Art, Howard Hollis, wrote to a friend on the Roberts Commission (the American body responsible for recommending policy regarding art, monuments, and archives during WWII, leading to the establishment of the Monuments, Fine Arts, and Archives Section), recommending his young colleague for a role as a Monuments Man in Asia, if the section were to expand into the Pacific theatre. Hollis himself soon joined as Chief that newly established division, the Arts and Monuments Division (A&M) of the Civil Information and Education Section (CIE), for the Supreme Commander for the Allied Powers in Japan (SCAP).

By 1946, his Navy duty complete, Lee joined his mentor in the A&M office in Tokyo. Initially an Advisor on Collections, Lee’s work as a Monuments Man after leaving the Navy reflects the post-war identity of the A&M section, as a civilian force. Unlike the story told in the George Clooney movie, The Monuments Men (2014), Lee’s work unfolded over the course of several years, and never involved him stepping on a land mine. Believing that art was both useful and important to human identity, Lee and his fellow post-war Monuments Men were charged with protecting, cataloguing, recovering, and repairing art and monuments, including those of their former enemies.

Initial discussions had Lee traveling to China, a country of his expertise, but instead he was sent to Japan. There, his reports tell of power and lighting issues hindering the repair of a pagoda, “fire hazard” threatening historic murals, and a long list of tedious but necessary tasks integral to the protection and saving of Japan’s cultural heritage. The process was expected to last five to ten years. To accomplish his mission, Lee and his colleagues worked closely with both the Japanese imperial family and government officers to help identify National Treasures, and protect them in future; they helped the Japanese plan and establish a new national archive; they helped collectors and private businesses recover objects that disappeared during wartime (including historic swords that were looted by Allied troops); they helped the National Museum set new “best practices,” and brought loan exhibitions to Japan from museums in the United States and Europe, for the people of Japan to enjoy; and they even helped Japan establish a system of National Parks, similar to the one in the United States. By the time he left Japan in 1948, Sherman Lee was Acting Chief of the Arts and Monuments Division.

While he never published his experiences as a Monuments Man (as did some others, including James Rorimer, upon whom Matt Damon’s character is loosely based in the movie), Sherman Lee did write about his experiences as they happened—in the form of letters to his superiors as well as to his colleagues. George Stout (the basis for George Clooney’s own character in the movie), the art conservator who, after cessation of hostilities in Europe, shifted his Monuments work from Europe to Asia, was the first Chief of the A&M in Japan, before the arrival of Hollis. After his departure in 1946, he remained in touch with Lee; the two even corresponded into their later years, after Stout had retired as director of the Isabella Stewart Gardner Museum and Lee was still serving as the director of the Cleveland Museum of Art.

So, what does a Monuments Man—a former curator at the Detroit Institute of Arts and future director of the Cleveland Museum of Art—have to do with SAM? I will let Dr. Richard E. Fuller, founding director of the Seattle Art Museum, tell you himself:

Seattle Art Museum Annual Report, 1948

In fact a native of Seattle (he was born here in 1918), Lee went to work for SAM even before his arrival, on the Fourth of July, 1948. Dr. Fuller sent Lee a Leica camera, to “make his trip to India as rewarding as possible” (Fuller, A Gift to the City, p. 26) before flying to Seattle to begin his work here. Lee’s experience and contacts initiated a new era of ambitious exhibitions and collecting for SAM. The National Museum of Japan, with whom Sherman Lee had worked so closely during his time as a Monuments Man, willingly lent National Treasures to the Seattle Art Museum’s Survey of the Art of Japan (9 November – 4 December 1949), and other National Treasures were exported and acquired by SAM during Lee’s time in Seattle. One of these Treasures was the renowned Poem Scroll with Deer (or, more popularly, the Deer Scroll), the largest extant portion of which is in SAM’s collection.

But Lee was known as “an outstanding scholar of art history both in the Oriental and Occidental fields” (Dr. Richard E. Fuller, SAM Annual Report, 1947), which he proved soon after his arrival in Seattle. Lee was instrumental in convincing the trustees of the Samuel H. Kress Foundation to make a significant gift of painting and sculpture to SAM. The results of his negotiations were no less than the establishment of a European art collection in a museum that had formerly displayed framed facsimiles (high quality color photographs) of the Mona Lisa and other paintings in our galleries. He also made his own gifts of art to the collection, as well, unsurprisingly comprising both “Oriental and Occidental” objects.

Newspaper clipping from SAM archives, showing Sherman Lee with museum docents, 1950

Educational programming also increased and diversified during Sherman Lee’s time as Assistant —and later Associate— Director. He established a monthly Thursday evening lecture series for men (what not-appropriate-for-the-ladies topics might have been covered in these sessions, I wonder?), and trained the female corps of volunteer educators known as docents. In 1949 he gave a public lecture titled, “What Use Is Art, Anyhow?” His answer is not recorded in the SAM archives, but we know from his life and work that he found art greatly useful. He wrote the museum’s first handbook of the collection, published in 1951. He wrote scholarly articles on highlights of the museum’s Chinese, Japanese and South Asian collections, as well as on objects in Japanese public and private collections. He even participated in dialogues within his specialized field, writing a mixed review of a catalogue by a young scholar at the Los Angeles County Museum, Henry Trubner (who would later go on to a long career as SAM’s Curator of Asian Art and Chief Curator). Lee also had an influential presence in the local academic community, his position being a joint appointment between the museum and the University of Washington, where he taught Asian art history.

After four productive years in Seattle, Lee was lured away by the Cleveland Museum of Art, where he became Curator of Oriental Art (1952-58; he didn’t have to volunteer this time!), and ultimately Director (1958-83). Many years later, he returned to SAM when the downtown museum building first opened, in 1991. True to the lauded “Oriental and Occidental” perspective once celebrated by Dr. Fuller, this renowned scholar of Asian art declared the European Neoclassical art gallery his favorite in the new SAM.

SAM’s Monuments Man left a lasting impact on the museum—through his scholarship, connoisseurship and leadership, he proved the great usefulness of art in uplifting, educating and uniting communities, including Seattle.

Highlights of acquisitions made by Sherman Lee are currently featured in A Fuller View of China, Japan and Korea at the Asian Art Museum. Other works acquired by Lee are on view throughout the Seattle Art Museum and Asian Art Museum galleries.

-Sarah Berman, Curatorial Associate for Collections

Sources (all of which are accessible in the Seattle Art Museum’s Dorothy Stimson Bullitt Library):

Archival documents:

Roberts Commission – Protection of Historical Monuments collection, National Archives, via Fold3.com

Ardelia Hall collection, National Archives, via Fold3.com

George Leslie Stout papers, Archives of American Art, via aaa.si.edu

Sherman E. Lee papers, Archives of American Art, via aaa.si.edu

Unpublished minutes of the Board of Trustees meetings, Seattle Art Museum, 1947-1952, Seattle Art Museum archives

Fuller, Richard E. Seattle Art Museum Annual Report. Seattle: Seattle Art Museum, 1947, 1948, 1949, 1950, 1951, 1952, Seattle Art Museum archives

Books and articles about Sherman Lee:

Clark, Bill. Celebrating the Lees. Self-published, 2004

Fuller, Richard E. A Gift to the City: A History of the Seattle Art Museum and the Fuller Family. Seattle: Seattle Art Museum, 1993, pp. 26-30

Milliken, William M. “Appointment of Sherman E. Lee,” in The Bulletin of the Cleveland Museum of Art, vol. 39, no. 8, Octover 1952, p. 217, via JSTOR.org

Stokrocki, Mary and Lee, Sherman. “The Making of a Curator: An Interview with Sherman Lee,” in Art Education, vol. 36, no. 3, May 1983, pp. 24-25, via JSTOR.org

Weber, Bruce. “Sherman Lee, Who Led Cleveland Museum, Dies at 90,” in The New York Times, July 11, 2008, p. C11

Books and articles by Sherman Lee:

Lee, Sherman E. Handbook, Seattle Art Museum: selected works from the permanent collections. Seattle: Seattle Art Museum, 1951

Lee, Sherman E. “Review of The Art of Greater India, 3000 B.C. – 1800 A.D. by Henry Trubner,” in Artibus Asiae, vol. 13, no. 1/2, 1950, pp. 119-121, via JSTOR.org

Lee, Sherman E. “Japanese Monochrome Painting at Seattle,” in Artibus Asiae, vol. 14, no 1/2, 1951, pp. 43-61, via JSTOR.org

Lee, Sherman E. “A Kushan Yakshi Bracket,” in Artibus Asiae, vol. 12, no. 3, 1949, pp. 184-188, via JSTOR.org

Lee, Sherman E. “A Probably Sung Buffalo Painting,” in Artibus Asiae, vol. 12, no. 4, 1949, pp. 293-301, via JSTOR.org

Lee, Sherman E. “Sung Ceramics in the Light of Recent Japanese Research,” in Artibus Asiae, vol. 11, no. 3, 1948, pp. 165-175, via JSTOR.org

Finding Miró: Fundació Pilar i Miró

Seattle Art Museum on Feb 7 2014

Join special projects intern Gabriela Ayala every Friday as she travels in Miró’s footsteps through Europe.

Palma de Mallorca, Spain

I find myself twenty minutes from the city center, on a hill, with a gifted view of the water, boats, and buildings. I have an appointment to meet with a conservator here at the foundation. I know that between me and this black barred gate is where Miró lived and worked from 1956 until his death in 1983. I am greeted with a Spanish hello and taken down to the basement level of the Foundation. I am more than pleasantly surprised. The conservator has picked actual drawings out of their archives for me to look through with care. I have Miró in my hands, the real deal. These papers were the launching to bringing into existence his colorful paintings, prints, and sculptures. Again, I see that when Miró had an idea there was not enough time to find a sketchbook. Drawings and thoughts were jotted down on anything and everything. It is important to note that Miró was purposeful. Everything was well thought out and with reason. His pieces may appear spontaneous but in reality he was eccentrically detail oriented. An observant man who was aware of himself, of life, and the many details life has to offer us when we are willing to see.

A workspace in Miró’s studio. Photographer: Gabriela Ayala

As if this is not enough, I know Miró’s studio comes next. I have already seen photos of this and even in just black and white I could see that it was amazing. Again, a building designed by friend Josep Lluís Sert, wing-like shapes line the roof giving it an incredibly modern look. The highly textured wooden doors that seem more a part of an Old Spanish home, quickly and beautifully counteract the modernity. The structure is white and all the doors and shutters to the windows are different colors. This building could not scream Miró any louder. The brass handle is opened and I walk into any artist’s dream come true. The studio is large and spacious with natural light coming in from all directions. Tall walls and large windows showing the surrounding nature make the room feel even larger and connected to the outside world. The studio is kept in a way that is genuine to how Miró had it while working. Any inspirational items, clippings, or photos are pinned to the walls. There is an open top floor that gave Miró the ability to get a bird’s eye view on what he was working on. He mostly painted downstairs and drew up stairs. His supplies are still scattered on tables around the studio and a familiar whicker rocking chair sits still in the center of everything. There is still action and movement in the studio in the splatters of paint and footprints left on the floor. It is, simply put, beautiful.

Exterior of Fundació Pilar i Miró. Photographer: Gabriela Ayala

I ask where Miró did his printmaking and sculptures; I am informed I have not seen it all. We follow a curved gravel path with trees and flowers leading us. Up a small ways there is a large white house that was once a farmhouse from the 18th century. It is a very typical Mallorcan country home from the time and is kept in these same conditions on the interior as well. Small shutters cover the windows to the home and two large wooden doors decorate the façade. Just behind these doors is a glass door that senses us and automatically opens. Obviously this is a contemporary addition to the home. This simple floor plan has a square center space and four rooms that connect to it. I step into the entryway with walls that look like one large sketchbook. There are drawings directly on the walls, paint on the stone floors, and Miró’s presence splattered around every corner. There is a print studio on the bottom level and all sorts of molds used by Miró scattered about the house. I am then taken upstairs to an area that is not usually seen by the public and witness the remnants from the last months of Miró’s life. This was another space for painting but the remarkable part is to see how many prepared canvases Miró had in these rooms. He had some big plans. Miró worked literally until his dying day. Lastly, I am taken to the one room where no art materials abide. This was a room merely for Miró to sit and relax. It shows his personality in a very different way than anything else I had seen at this point. There is a small round table off to the right with a chair and a couple of collected items on a shelf. This room of dark red walls has four portraits that inhabit its space: one each of his mother, his father, Pablo Picasso, and Joan Prats. Two narrow wooden doors lead to a large terrace where again that gifted view presents itself. I now can fully understand why Miró chose to move from the bustle of Barcelona to the peace of Palma.

Top image: Detail of a workspace in Miró’s studio. Photographer: Gabriela Ayala. www.gabrielaayala.com

SAM Art: Enter the Horse

Seattle Art Museum on Feb 4 2014

Happy Lunar New Year, and best wishes for the Year of the Horse, from all of us at SAM!

Shadow puppet of a horse, 20th century, Chinese, donkey skin and paint, height 18 in., Gift of Wellwood E. Beall, 48.85.10. Not currently on view, but viewable online.

SEATTLE ART MUSEUM OFFERS NEW WORK OF ART TO DENVER ART MUSEUM FOR THE OUTCOME OF SUPER BOWL XLVIII

Seattle Art Museum on Jan 31 2014

Update: In our bet against the Denver Art Museum, we have respectively withdrawn our offer of a Forehead Mask due to the wishes of the Nuxalk Nation where the mask originates. In its place, SAM is now offering a stunning piece from our Asian Art Collection.

The new work on the line is a six-paneled Japanese screen from 1901, Sound of Waves by Tsuji Kakō. This piece is quite large, measuring approximately 5 feet by 12 feet, and features a powerful eagle with outstretched wings in a panoramic view of the seashore that stretches across the painted screen.

Director Kimerly Rorschach has faith in our Seahawks. She says, “Sound of Waves is a masterpiece from our great Japanese art collection and a reflection of Seattle’s close connection to Asia. But we are still confident that The Bronco Buster will be heading to Seattle.”

For the record, Denver Art Museum is still offering up The Broncho Buster, a bronze icon of the West by Frederic Remington from their western American art collection.

The bet continues a tradition that began in 2010 between the Indianapolis Museum of Art (J.M.W. Turner’s “The Fifth Plague of Egypt,” a 4-by-6-foot canvas from 1800 that shows a landscape of dark, roiling clouds gathering oppressively above a distant pyramid) and the New Orleans Museum of Art (Claude Lorrain’s idyllic 1644 landscape, “Ideal View of Tivoli”). The Turner traveled, and hung for three months beside the Lorrain.

The tradition continued in 2011 between the Milwaukee Art Museum and the Carnegie Museum of Art. MAM’s Gustave Caillebotte painting, “Boating on the Yerres,” stayed at home while the CMA’s Pierre-Auguste Renoir, “Bathers With Crab,” came to visit Milwaukee.

(The Los Angeles Times offers up a great mix of football and museum insights here for anyone who’s interested in reading more.)

Super Bowl XLVIII will be played Sunday, February 2. Dates of the loan are still being finalized.

Image credit: Sound of Waves, 1901, Tsuji Kakō, six-paneled screen, one of a pair, ink and color on gilded paper, 65 1⁄2 in. X 12 ft., Seattle Art Museum, Gift of Henry and Mary Ann James.

Finding Miró: Palma de Mallorca

Seattle Art Museum on Jan 31 2014

Join special projects intern Gabriela Ayala every Friday as she travels in Miró’s footsteps through Europe.

Palma de Mallorca, Spain

I am up early for my 50-minute flight over to Mallorca but it is all worth it because I am ready for some island life. When we take off we are literally in the air for a moment before they announce we are descending into our destination. Once I land I can already feel how different the environment is here. Smaller airports are always a joy to arrive to because they are usually empty, quick, and easy. I get myself to a taxi in no time and officially greet Mallorca. Hello, I introduce myself; I lower the window and the warm ocean breeze gives me a beautiful welcome. The water is to my left and an incredible castle reveals itself to my right. My first impression as we keep driving along is that the city has a sensation of a simpler, quieter, and older Miami. There are new buildings and old. The busiest path is the one that lines the ocean’s edge in a semi-circle around the city. There are hundreds of people biking, walking, and rollerblading. It is quite the destination. It is a stark difference coming from a city with small streets, many cars, and many stimulants. Mallorca offers a bit of this but as it goes on it quiets down more, the colors are brighter, and the pace is very slow. It is easy to become inspired here.

Buildings in Palma de Mallorca. Photographer: Gabriela Ayala

I decide the quickest way to get an idea of the city is the great red double-decker bus. It does not take long to visit the city as a whole but what I slowly learn is that it offers a bit of everything. There is an older part that is very romantic, a modern area with taller buildings and apartments that all resemble each other. There are castles and cottages. There is even an Old Spanish square where famous buildings from other parts of Spain have been recreated. Mallorca conclusively gives you a versatile taste of experiences but mostly it romances you. I end my relaxed and simple day with a typical Spanish dish, tortilla de patatas, refreshingly combined with a sweet glass of Sangria. As the food disappears from my plate and the ice in my round wine glass starts to disappear, I stop to let Mallorca fully seduce me. I need to take the time to recognize the intense gratitude I feel to be in a beautiful place, researching an incredible history. I could not wait to see the best of Miró tomorrow, his remarkable studio where he spent the last twenty plus years of his life.

Top image: Bay in Palma de Mallorca. Photographer: Gabriela Ayala

SAM Art: Rare and beautiful, and new to SAM

Seattle Art Museum on Jan 28 2014

Porcelain, such as this centerpiece, embodied the essence of taste for Europeans of the mid-eighteenth century. At that time, porcelain was costly and a European formula had only recently been attained through scientific and technological struggle. Using the recently devised formula, the white translucent ceramic could be molded or cast in wonderful, light, airy, sculptural forms—such as this basket-shaped bowl supported by a swirl of foliage and cavorting, fanciful putti.

Only two other examples of this form are known; both are in England. Previously unrecorded, this rarest, most beautiful piece of Bow porcelain was recently acquired by SAM. It will be installed in the Porcelain Room this spring.

Centerpiece, 1750, Bow Porcelain Manufactory, London, England, soft-paste porcelain, 7 × 9 ½ in., Kenneth and Priscilla Klepser Fund, 2013.15. On view in spring 2014, Seattle Art Museum, fourth floor, Porcelain Room.

It’s On! Seattle Art Museum (SAM) and Denver Art Museum (DAM) are betting big on Super Bowl XLVIII

Seattle Art Museum on Jan 27 2014

The Super Bowl is a mere six days away (February 2, 3:30 pm PST on FOX). Not only is the 12th man gearing up, but so is the Seattle Art Museum. SAM and the Denver Art Museum (DAM) (everyone likes a rhyming competition, right?) have upped the ante on the outcome of Super Bowl XLVIII by betting temporary loans of major works of art on Sunday’s big game.

The Stakes:
A majestic Native American mask, reminiscent of a mighty “Seahawk” from SAM’s renowned Northwest Coast Native American art collection, is wagered by Kimerly Rorschach, SAM’s Illsley Ball Nordstrom Director and CEO.

The Broncho Buster, a bronze icon of the West by Frederic Remington from the renowned western American art collection at the DAM, is wagered by Christoph Heinrich, Frederick and Jan Mayer Director.

The winning city will receive a three-month loan of the prized artwork. All shipping and expenses will be paid by the city that loses the big game. Dates of the loan are still being finalized.

Here at SAM we are looking forward to showcasing the Broncho Buster. Our visitors will be in for a special treat when they gaze upon the beautiful bronze horse symbolizing the spirit and tenacity of the Wild West. Popular from the time of its creation, The Broncho Buster stands today as an icon of the region and is thought of as the first action bronze of a western hero.

Just for the record, SAM’s “Seahawk” is a Forehead Mask from the Nuxalk First Nation ca. 1880. This Nuxalk mask shows the elegant elongation of the bird beak, a sensitive and human-like rendering of the eye/socket/brow area, with painted embellishments on the surface in black, red and blue. The open mouth suggests the ferocity of this bird of prey, possibly a supernatural “man-eater”. Shredded red cedar bark symbolizes the mythical arena in which the dance-dramas would be enacted.

…It’s too bad that visitors to DAM won’t be able to experience it there, but they can always come visit SAM.

GO HAWKS!

Image credits: Forehead Mask, Nuxalk, ca. 1880, Alder, red cedar bark, copper, pins, paint, 4 1/8 x 11 3/8 x 5 1/8 inches, Gift of John H. Hauberg 91.1.71. Frederic Remington, The Broncho Buster, Modeled 1895, cast by 1902, Bronze; 23-1/4 in., Denver Art Museum; The Roath Collection.

Finding Miró: Barcelona

Seattle Art Museum on Jan 24 2014

Join special projects intern Gabriela Ayala every Friday as she travels in Miró’s footsteps through Europe.

Barcelona, Spain

Relaxed and ready to walk, I awake early to take on the city and locate a couple of researched Miró-related destinations. Luckily today, the sun is out to guide me along. First on my list is the Parc Joan Miró. This is easy because it is also clearly located on a map. Barcelona is a busy city. The center has many different types of buildings and so much life on the streets. It is easy to forget that this is a city on a coast and water is merely a fifteen-minute walk away. I learn that as a citizen of Barcelona you have the option, with an affordable yearly fee, to use the many bicycles that are stationed around the city. It was a project established to help encourage people to ditch their cars and adopt an environmentally friendly way to get around. I see a lot of people using this and I think it is pretty neat. Moving along, I find the park and the massive sculpture made by Miró, Dona i Ocell (Woman and Bird). It stands tall at the corner of the park, its many colors glistening to say hello. I then move on to find a gallery named Sala Gaspar. This may or may not be the location it was in originally, but this was a gallery that featured Miró many times. This weekend is a national holiday and therefore the gallery is not open during its regular hours. I do not get a chance to enter but I do take the time to imagine its past. I encounter the effects of this national holiday in more ways than one. As I walk towards one of the most centralized parts of the city, the Rambla, I find myself in a demonstration at the central square. There is red and yellow in every direction, flags flying, and people chanting “España!” I am thrilled. I feel so much energy coming from the pride these citizens feel for their country and it is a fortuitous experience.

Demonstrators in Barcelona wave the Spanish and Catalan flags. Photographer: Gabriela Ayala

Eventually I locate the mural that was on the street in the center of the Rambla. The Rambla is an avenue with all the shops, restaurants and café’s you could ask for. There are flower stands and souvenirs by the millions. At the heart of the street is Miró’s mural. People walk back and forth down this street but not many notice what they are stepping on. There is art beneath their feet. The great part is to see the people who do notice. They stop, back away to see the full picture, and smile.

My final mission is a bit more difficult. I hoped to find Miró’s family home where he lived and worked for a bit. This is meant to be located at number 4 Passatge Del Credit. The map I have is not detailed enough to show the names of the smaller streets and so I find a large street that is meant to intersect with my desired location. Luckily, this street is incredibly lively and visually striking. I find a hidden gallery showing contemporary artists and discover that frozen yogurt has indeed found its way to Europe. Unfortunately, Passatge Del Credit never shows itself to me. I do however see a plaque of a club dedicated to Miró that is very close to where this street should have been, and so I decide I must have been close.

View from Güell Park, Barcelona, designed by Catalan architect Antoni Gaudí. Photographer: Gabriela Ayala

After these Miró specific destinations, I decide to go to locations that are related to people Miró was inspired by. This included the Picasso Museum and Güell Park. The Picasso Museum is undeniably great but Güell Park is something very special. Güell Park is completely designed by Catalan architect Antoni Guadí and built in the years 1900 to 1914. It is a journey of mosaics in many shapes, colors, and patterns. It has the feeling of an amusement park only because of its wonderment. It is like stepping into a new world, into a painting mixed with nature and unique architecture. After taking many pictures and being romanced by the views of the city, I head back to my hotel with happy thoughts that tomorrow will bring me to the next step of Miró’s life, Palma de Mallorca.

Top image: Building in Barcelona, Spain. Photographer: Gabriela Ayala

SAM Art: More than a mere rabbit

Seattle Art Museum on Jan 24 2014

Masks have work to do, coming alive to interact with people in forceful ways. They can sing songs, ease pain, encourage laughter, and honor elders. A new installation in the African galleries brings together masks that align human desires with animal characters. Including several recent acquisition, these masks align human desires with animal characters. Birds, antelopes, bush cows, a hyena and a rabbit are ready to greet you on your next visit to the museum.

Rabbit mask, 20th century, Bwa/Bobo culture, Burkina Faso, wood, 18 in. height, Gift of Dr. Oliver E. and Pamela F. Cobb, 2012.29.11. Currently on view in the African art galleries, fourth floor, Seattle Art Museum.

Finding Miró: Fundació Joan Miró

Seattle Art Museum on Jan 17 2014

Join special projects intern Gabriela Ayala every Friday as she travels in Miró’s footsteps through Europe.

Barcelona, Spain

Fresh off the train from Madrid and I do not even have my hotel room yet. I sit in this Barcelona taxi with high anticipation. The car curves its way up the hill with trees gathered on all sides and flourished architecture appearing every now and then, as the trees allow. I learn that this mountain is called Montjuïc and was historically used as a military base. In 1992, it was where the Olympics were held. It also has a history of racecar driving until the city realized it was too dangerous, logically because these roads are wickedly narrow.

View from Montjuïc Park, Barcelona. Photographer: Gabriela Ayala

It is currently home to the Museum of National Art of Catalonia and a large theater for plays. For me, my focus and destination is the Fundació Joan Miró. At this point I had only researched photos of this building and studied its unique shape constructed by architect and friend of Miró, Josep Lluís Sert. The taxi driver announces we are close. Seeing the Foundation in person brightens the cloudy day I find myself in. I have been in contact with a conservator from the Foundation who granted my request to look through their archives, consisting of digital images only for conservation reasons. I admire thousands of drawings by Miró learning that when he had an idea, he drew it on anything. Receipts, envelopes, newspaper clippings, pocket calendars, you name it. I am able to see the link between these initial preparatory drawings and his paintings. Symbols constantly repeat themselves in his work and they all start out on these scraps of paper that are now historical treasures. When I finish, I refresh myself with some coffee and headed over to the Foundation’s permanent collection.

I enter the center atrium that leads me to another pair of glass doors. I turn into the exhibition and find myself immediately presented with a giant tapestry of color, texture, and movement. It may be the magnitude of it or maybe the gloomy day but I instantly become emotional. As I walk through the entire collection this sensation is heightened and in the end, creating sentences becomes difficult. All I have are single words:

Freedom
Feeling
Spirituality
Colorful
Astrological
Stars
Human Form
Sun
Moon
Symbols
Honesty
Thoughtful
Energetic
Explorative
Imaginative
Life
Shapes
Signature

Top image: Fundació Joan Miró, Montjuïc Park, Barcelona. Photographer: Gabriela Ayala

Finding Miró

Seattle Art Museum on Jan 10 2014

Join special projects intern Gabriela Ayala every Friday as she travels in Miró’s footsteps through Europe.

Madrid, Spain

I have officially started a focused three-week journey to a land of great coffee, beautiful colors, traditions, and unique elegance. I have been to Spain before but this is very different: I have come with a greater purpose. I take a couple days to adjust my internal clock to tick to a Spanish beat before making my way to one of the most famous museums in Madrid, the Museo Nacional Centro de Arte Reina Sofía. The Reina Sofía has an incredible collection of 20th-century art. They house very famous pieces from Pablo Picasso, Salvador Dalí, Alexander Calder, and Joan Miró, just to name a few. It is Joan Miró who brings me to Spain to begin with. The Reina Sofía is partnering with the Seattle Art Museum to bring Miró’s late work to the United States for the first time. I am here to bring a firsthand account of my experiences while learning about Miró and living my life focused on him, seeing what I may be able to understand beyond his many art works.

The Reina Sofía is a combination of two very impressive structures. A contemporary building that has an extensive library, a space for exhibiting, and the offices of all the people who make this museum work every day. Across from this, connected by a sky bridge, is a former 18th-century hospital with major modern renovations. This is where their entire collection can be found. One of the many historical and stirring art works you can see here is Pablo Picasso’s Guernica, a very famous mural that I have the intention of exploring in further detail later on in my trip. The space leading up to Guernica sets the scene for where this piece is shown and what other artists are showing there. And so naturally I run into a large collection of Joan Miró’s art. As my eyes follow the bold black lines and simple compositions of his pieces, I start to think about how interesting it is that my study of Miró starts here. Madrid is my home base because the Reina Sofía is here, but in truth Miró did not spend a lot of time here. What Madrid is really showing me is that Miró expanded his presence in life and after, to all parts of Spain and the world. And so I begin with evidence of Miró’s everlasting impact, but these short three weeks have a lot of plans packed in, plans that hopefully bring me closer to feeling a bit more familiar with who Miró was. To do this, I must go to where he spent more of his time and places that meant a lot to him. I bring myself back to the present moment: at this point I have found a stone bench to sit and digest everything my eyes and mind have just received. I leave the Reina Sofía with a charged sensation of excited interest in what is to come next, on the destination list I have: Barcelona, Palma de Mallorca, and none other than Paris, France.

Barcelona, Palma de Mallorca, and Paris. Photo by Gabriela Ayala

There is one thing that connects these three locations for me: Joan Miró, the subject of my exploration. I have taken the task upon myself to follow Miró’s remarkable footsteps. I will pass where he passed and see what is left behind from his talent and involvement within the art world. I will see what and who inspired him, like Pablo Picasso. I will visit the Joan Miró Foundation he created in Barcelona. This foundation is a space that is dedicated to him and to the avant-garde and future artists to come. In Palma de Mallorca, Miró’s home base starting in the late 1950’s, The Pilar and Joan Miró Foundation sits next to Miró’s old studio and is completely focused on his life and artwork. Miró traveled between Paris and Spain for many years. He first visited in the 1920’s where he met Pablo Picasso and was surrounded by Surrealist artists and poets. Important to note is that Joan Miró never wanted to be tied down to any description of his art and concepts. He was a part of this circle but he was still very much a man who “did his own thing”. He says it best:

Just as Picasso has been labeled a Cubist, I’ve been labeled a Surrealist. But what I want to do above and beyond anything else, is maintain my total, absolute, rigorous independence. I consider Surrealism an extremely interesting intellectual phenomenon, a positive thing, but I don’t want to subject myself to it’s severe discipline.

In Paris, I will visit a mural at UNESCO and explore the streets in which Miró ventured. For example, his old studio that was next to poet André Masson’s at 45 rue Blomet. I am determined to see what he saw and be inspired by what inspired him.

The other facet to this study is that I am an artist. My passions, likes, and wants, are somewhat closer in relation to that of Miró’s. Although we live in different time periods, with different wars, different expectations, advances, and social norms, his art is immune to all those changes. That immunity is what makes Miró, and art in general, such a beautiful and important thing.

About Me

I am an artist, a writer, and a student of life. I started research on Joan Miró in late July and found that I relate to him and deeply agree with his way of thinking. I like what he has to say and how he chooses to express himself. His concepts of life, the way he humbly and harshly viewed his own work, and his intense passion. Miró believed in freedom. This was basically instilled into him because of when he was born and the many wars he lived through. He believed in freedom in many senses, freedom for people but also for ideas. That is why I respect him so much. He was not afraid. He took large risks for his time period and was consistently reinventing himself while also revisiting his past. He was a pioneer for new ideas and ways of working. This is what being an artist means to me, and that is the type of artist I aspire to be. If it is by means of paint, paper, writings, charcoal, wood, or clay, this is what I want for myself and conclusively, why I am humbly retracing the steps of Joan Miró.

Top image: Gabriela Ayala, Miró and Me, drawing, 2013

What every holiday season needs… The Nutcracker

Seattle Art Museum on Dec 19 2013

By Kaley Ellis, archives and exhibitions intern

As I was considering what to write in my next blog post, I stumbled upon an exhibition from 1984 featuring the works of Maurice Sendak, famous for the book he both wrote and illustrated, Where the Wild Things Are. Young and old alike seem drawn to his tale of Max, the mischievous boy who cavorts about in a monster costume (which I sometimes wish came in my size). Upon being sent to his room as punishment for his behavior, Max escapes to a fantasy isle where he soon discovers real monsters. Much like the stories of Peter Pan, The Lion, the Witch and the Wardrobe and Alice in Wonderland, Sendak creates an alternate realm where the main character – a child – can escape. Fashioning a magical place where children can explore and monsters can be friend or enemy, Sendak offers something that most children – and if I’m being honest, myself included – would be intrigued by.

Intern Kaley Ellis, with the Maurice Sendak-illustrated Nutcracker book

As I look through the folder of prints, negatives, and slides, I can see the exhibition where Sendak’s fantasies were brought to life. The 1984 exhibition titled Sendak Onstage displayed sketches, intricate theatrical sets and even costumes. Prominently featured in this exhibition are the tales Love of Three Oranges and Higgelty-Piggelty Pop with smaller selections from Where the Wild Things Are and The Nutcracker. I am immediately drawn to images of The Nutcracker because as a child I used to perform in the ballet every year. While I always dreamed of being one of the party girls (who got to wear pointe shoes and carry dolls), I was inevitably something less glamorous – like a gum drop or a rat soldier. Nonetheless, attending The Nutcracker (to my brother’s dismay) has always been a holiday favorite. However the Seattle version – with theatrical sets and costume designs by Sendak – is the most spectacular rendition I’ve yet to witness.

Installation shot from Sendak Onstage, Seattle Art Museum (Volunteer Park), 11/15/84 – 1/27/85

Asked in 1981 – by Kent Stowell with the Pacific Northwest Ballet – to design theatrical sets for the Nutcracker, Sendak created another fantasy realm for children to explore. Here, members of the European aristocracy gather for a holiday party in which the daughter of the host is given a magical nutcracker that comes alive at the stroke of midnight. But in this version, the mice appear to have a more exotic (possibly Colonial) appearance and carry curved sabers instead of swords and battle Imperial foot soldiers and cavalry with variations in costuming that seem to link them to French, British and German armies (distinctions in rank not typical in other ballets). Following the battle’s conclusion, Clara and her nutcracker prince travel to another realm, akin to a sultan’s palace that might have been found in the Middle East or South Asia. The ruler of the palace regales the couple with exotic performances (including one featuring a ballerina in a peacock body suit and elaborate feathered tail) after which they are inevitably sent home to their realm. Sendak’s costumes are vibrantly colored and have a magical quality to them much like Max’s monster suit, for they allow the viewer a glimpse into the evening’s fairy tale resplendent with life-size dolls, an epic battle (at one point there is an enormous rat tail that extends from the wing of stage merely hinting at the size of its owner), a sea voyage across turbulent waters, a sultan’s palace and last but not least, the sugar plum fairy and her court. However, my favorite part of the performance is the end in which Sendak has created a nutcracker head that becomes visible on the curtains when they close – from the top and bottom of the stage – with teeth chomping shut to hide the performers from view. If you haven’t already, everyone should take a trip to the The Nutcracker in Seattle, for it allows the viewer to interact on a grand scale with Sendak’s art, much like the 1984 exhibit at SAM did for its audiences.

Top image: Installation shot from Sendak Onstage, Seattle Art Museum (Volunteer Park), 11/15/84 – 1/27/85

WINNER WINNER TRADITIONAL PERUVIAN GUINEA PIG DINNER!

Seattle Art Museum on Dec 19 2013

SAM teamed up with The Seattle Times and PromPeru, the Peruvian tourist bureau, to give away a four day, five night trip to beautiful Lima, Peru. The only requirement? Describe in 300 words or less what you would do with 24 hours in Peru. (Get it? A sun and a moon, to match Peru: Kingdoms of the Sun and the Moon.)

Over 300 readers responded. After much deliberation, the grand prize went to Sheelagh King! Her essay transported the selection committee, taking them right out of their offices and into the warm air and cobbled streets.

When we got Sheelagh on the phone, we found out that she knew what she was talking about—she once visited Peru for less than 48 hours and since then has been dreaming about going back.

“In 1940 my parent took their honeymoon in Peru. They ended up living in Lima for 3 years,” Sheelagh says. She feels a strong pull to explore a piece of family history; to stand on the edge of Lake Titicaca where a photograph of her parents was taken and spend time in Lima, where her sister was born. Her passions for culture, traveling and history are evident. We were happy to hear that Peru: Kingdoms of the Sun and the Moon, the inspiration for the contest, increased her understanding as well as deepened her curiosity of Peru.

Sheelagh’s father on Lake Titicaca, 1940

Sheelagh’s mother in Lima, Peru

Sheelagh’s mother in the marketplace of Huaycan with a local Peruvian woman

After hearing (and becoming quite jealous) of all her plans, we ended our conversation with a simple question (or so we thought): “Who is the lucky person you plan on taking?”

“Well, that hasn’t been decided yet. My husband and son are currently vying for the position of fellow traveler,” Sheelagh answered with a chuckle.

Read Sheelagh’s winning essay:

I would wake early and watch the mist above the Urubamba River in the Sacred Valley; put on my best walking shoes and have a light breakfast of papaya and a sweet tamale with raisins inside; watch the granite mountains, churning river, stucco houses and green fields fly by, from my seat on the Vistadome train; step off the bus at the top of the world and see for the first time that magnificent sight of Machu Picchu’s green terraces dropping off into space; overcome my fear of heights and climb to the highest point; run my hands along the smooth, seamless Incan stones; find a quiet spot on the lush grass above the remains of their dwellings and revel in the fact that the Conquistadors somehow missed this magical retreat of Pachacutec.

Retuning to Cuzco that afternoon, I would wander up and down the narrow, cobblestone streets of San Blas, looking for that perfect souvenir; try fried sweet potato donuts in the San Pedro market; have a chat with the ladies who come in to town with their big round loaves of bread, dressed in colorful embroidered clothes and wide brimmed hats; spend time with the magnificent art in the cathedral of Cuzco, which took a century to build; try to imagine a city covered in gold; enjoy a tart pisco sour by the fireplace of the Monasterio Hotel, feeling the ghosts of the Spanish monks who walked this place in silence; try alpaca for my dinner entrée along with several types of potato and a fresh tomato salad, accompanied by a glass of Peruvian red wine; fall asleep on an open air terrace, under the stars of the Southern hemisphere and dream of the ancients.

Top Image: Sheelagh’s mother on Lake Titicaca, 1940

SAM Art: The DNA of Japanese Design

Seattle Art Museum on Dec 17 2013

Plants and animals of exceeding beauty and technical intricacy appear throughout Japanese design. The natural world is deeply rooted in the DNA of Japanese design, and is transmitted down through generations. Over the past few centuries, artists have begun reimagining traditional subjects in modern forms.

Nature and Pattern in Japanese Design, a new installation of Japanese art, celebrates the motifs of the natural world in folding screens, fan paintings, hanging scrolls, ceramics and lacquerware from SAM’s collection. On view at the Seattle Art Museum starting December 21.

Asagao no tane (Vine with Morningglory Seed Pods), 19th century, Shibata Zeshin (Japanese, 1807 – 1891), lacquer and color on paper, 6 13/16 x 19 3/8 in., Eugene Fuller Memorial Collection, 61.80.1. On view in Nature and Pattern in Japanese Design, Asian art galleries (new!), third floor, SAM Downtown, opening Saturday, 21 December.

SAM Art: Going for Gold is shimmering away

Seattle Art Museum on Dec 3 2013

Gold has been a shimmering presence in art across cultures and time. When the first metals were unearthed by humans around 5000 b.c., gold was valued for its rarity and lustrous color. Today, gold is prized as both investment and adornment, with fifty percent of the world’s consumption of this rare substance being made into jewelry. The rarest of all metals, gold has unique properties. It is chemically inert so it remains stable and does not oxidize or degrade, even if buried in a tomb or sunken in a shipwreck. Gold is also dense—a cubic foot weighs half a ton—but is so malleable that it can be stretched into threads to be woven into textiles or hammered into thin sheets to be applied as gilding.

The dazzling art on view in Going for Gold offers a rare opportunity to appreciate gold in all its beguiling aspects. This exhibition closes on Sunday, 8 December.

Portable shrine: Bodhisattva Kokuzo, 19th century, Japanese (Edo period, 1603-1868), wood with gold and black lacquer, polychrome, and metal fittings, Eugene Fuller Memorial Collection, 34.183. On view in Going for Gold, third floor, SAM downtown, through Sunday, 8 December.

SAM Art: A new exhibition, a new type of innovation

Seattle Art Museum on Nov 12 2013

Canadian Haida artist Robert Davidson is on a lifelong quest for innovation, which he sees as a continuation of the spirit of originality present in the work of generations of Haida artists.

In 1977, the efforts of Davidson and other artists in elevating the status and quality of silkscreen prints as an artistic, rather than touristic, medium resulted in the formation of the Northwest Coast Indian Artists Guild. Experimenting with larger scale and bold graphics, Davidson was inspired to new originality. In Reflections, the black expanse serves to heighten the precision of line, texture and color.

Reflections is included in the new exhibition Robert Davidson: Abstract Impulse, opening this Saturday, 16 November.

Reflections, 1977, Robert Davidson (Canadian, Haida, born 1946), ink on paper, 16 15/16 x 7 3/4 in., Seattle Art Museum, gift of Marshall and Helen Hatch, 2013.19.2, © Robert Davidson. On view starting Saturday, 16 November, in Robert Davidson: Abstract Impulse, third floor, SAM downtown.

SAM TALKS: NANDIPHA MNTAMBO

Seattle Art Museum on Nov 6 2013

Join the Seattle Art Museum Friday, November 8 in the Plestcheeff Auditorium at 6:30 pm as we welcome Swaziland native artist Nandipha Mntambo for an engaging and enlightening discussion about the art of bullfighting and one’s relationship with cows. Her hide sculptures, performance videos and startling photography put ancient mythology and contemporary reality in a new framework. Don’t miss this opportunity to hear from the 2011 Standard Bank Young Artist Award winner.

Mntambo’s talents include photography, videography, taxidermy and sculpture. Taxidermy and her interest in chemical processing are the backbone for her unique sculptures where she fuses the dichotomy between humans and animals by rendering the female form with the treated hides of cattle.

The artist combines fluidity, nature and femininity to create truly mesmerizing work. One can’t help but wonder how Mntambo creates a fixed sculpture with a tremendous amount of detail from a once pliable cow hide. Take the time to discover more about her inspiration and interests that led to success and international recognition!

Check out the SAM Calendar for more information.

By Hilary St. Clair, Communications Intern

Nandipha Mntambo, Photo: Tim Aguero

SAM Art: Last chance to see an heroic guardian

Seattle Art Museum on Nov 6 2013

A heroic guardian, this figure was strategically placed precisely at the water line of a decorated canoe’s prow in the Solomon Islands. Dipping into the water as the large canoe navigated the seas, it kept watch for hidden reefs and enemies. Shell inlay swirls over the face in a pattern like those found on the painted faces of warriors. Beneath the chin of this figure is a head that is being clutched—although whether the warrior is protecting it or presenting it as a fallen enemy is unknown.

Oceanic art is on view at the Seattle Art Museum through Sunday, December 8.

Canoe prow figure (Nguzu Nguzu), 19th century, Solomon Islands, Melanesian, wood, nautilus shell, 10 5/8 x 7 7/8 x 5 in., Gift of Katherine White and the Boeing Company, 81.17.1443.